Method and Apparatus for Prefiring Cues During a Digital Cinema Presentation

ABSTRACT

Digital cinema exhibition facilities make use of a show play list (SPL) specifying a time sequence of the events to occur during the presentation of digital cinema content. One or more cues in the show play list trigger certain activities, such as displacing the screen curtain and dimming the house lights. To achieve an aesthetic, showman-like presentation, the cues in the show play undergo re-cuing. For each cue, a determination is made automatically of the prefire interval, that is, the interval by which the cue should be advanced. The execution the cue to trigger a corresponding activity is advanced by the automatically determined pre-fire interval.

CROSS-REFERENCE TO RELATED APPLICATIONS

This application claims priority under 35 U.S.C. 119(e) to U.S.Provisional Patent Application Ser. No. 61/127,911, filed 16 May 2008,the teachings of which are incorporated herein.

TECHNICAL FIELD

This invention relates to a technique for controlling one or moreactivities during a digital cinema presentation.

BACKGROUND ART

During the exhibition of a motion picture in a movie theater, certainactivities occur. For example, in advance of the actual presentation, acurtain covering the screen will draw open and the house lights dim. Inthe past, theater personnel performed these activities manually. Today,many movie theaters make use of a Screen Automation System (SAS) forperforming such tasks. In the case of a conventional celluloid filmprint, a projectionist or other theater personnel will typically affix apiece of metal foil to the film print such that at a particular timeduring the exhibition of the film, the foil will pass by a reader. Thepassage of the metal foil past the reader gives rise to a signal thetriggers the SAS to initiate a particular activity, such as dimming thelights or actuating the curtain.

In the case of the presentation of digital cinema content, a differentmechanism exists for triggering the theater SAS. A typical digitalcinema presentation incorporates a “show playlist” which, as defined inthe National Association of Theater Owners Digital Cinema SystemRequirements, document (Release 1.0 2006)(http://www.natoonline.org/NATO%20Digital%20Cinema%20System%20Requirements%20-%20release%201-02.pdf)comprises a list of time-sequenced compositions, each having acorresponding Composition Playlist (CPL) and automation cues interlacedin the CPL. Exemplary cues include the Start of Show, Start of Feature,Start of Intermission, End of Intermission, Start of End Credits, andEnd of Show. Traditionally, the position of each cue within each CPLcorresponds precisely to a position within an event timeline of theevent the cue represents. For instance, the Start of Show cue liesimmediately prior to the first frame of the first CPL. Similarly, theStart of Feature cue lies immediately prior to the first frame of thefeature presentation CPL. In order to present the digital cinemacontent, the cues must reside at their proper locations within theplaylist. Otherwise, the activities controlled by such cues will notoccur automatically at the proper times.

Cue placement within the CPL to correspond precisely to the event in thetimeline (e.g., placing the Start of Feature cue immediately prior tothe first frame of the feature) can give rise to certain drawbacks. Insome movie theaters, the facilities systems and the automation systemscan operate to provide a more showman-like presentation upon advancenotice of a change in certain circumstances. For instance, a projectormight require a certain interval to warm up. Further, the screen curtainshould close and the reopen prior to the start of the feature.Previously, such concerns, if not ignored, were addressed by manuallyadvancing each cue by an appropriate, predetermined amount of time(e.g., 60-seconds) and then allowing the Screen Automation System (SAS)to manage the timing of actions relative to the newly advanced cue,hereinafter referred to as a “prefired” cue. Thus, in an auditoriumwhere dimming the lights constitutes an activity resulting from theStart of Feature cue, the SAS will initiate that activity a fixed time,say 60-seconds, following the issuance of a Start of Feature cue by aScreen Management System.

However, not every movie theater uses the same type of light dimmers.For example, a given movie theater might possess alight dimming systemthat fades the lights over a 20-second interval. Taking this dimminginterval into account, an exhibitor might find that the most aestheticpresentation requires light dimming ten seconds prior to the start ofthe feature, which corresponds to fifty seconds following the Start ofFeature cue. Thus, prefiring the light dimming cue by 60-seconds forevery theater would yield a sub-optimal presentation.

As another example, consider a movie theater having elaborate lightingand curtain equipment. For such a theater, the curtain close commandshould occur at a particular time empirically determined so that screencurtain closes at the instant the feature begins playing, after whichthe curtains should re-open. Such an interval will typically differ fromthe standard sixty second prefiring interval. Applying the standardsixty second prefire interval under circumstances would cause thefeature to begin playing either too early or too late with respect tothe closing and re-opening of the screen curtain. The timing for dimmingthe lights typically will vary as well from theater to theater. Otheractions might require different timing, such as pausing playout of theCPLs for a brief interval, when a predetermined interval has elapsed orsome variable duration event has occurred, such as the manual triggeringof a signal.

Certainly, an advantage accrues by providing a single SPL having cueswith corresponding predetermined prefire offsets because such an SPL canundergo execution in any auditorium having an SAS configured to handlecues having substantially the same corresponding prefire offset. Theresulting playout of the digital cinema content will have an aesthetic,showman-like presentation. However, this approach incurs thedisadvantage that a projectionist or other theater personnelconstructing the SPL must have knowledge of the appropriate,predetermined prefire offset for each kind of the cue inserted into theSPL. Also, the presence of the cue s having prefires can result in anawkward-looking SPL presentation, where the ‘Start of Feature’ cue mightoccur halfway through the trailer CPL prior to the exhibitor-branded‘And now our Feature Presentation’ CPL positioned prior to the actualfeature CPL.

In the case of a Start of Show cue, present-day Screen ManagementSystems typically do not support a timeline having a cue positioned atany time earlier than immediately prior to the beginning of the firstCPL. Thus, no normal way exists to position a Start of Show cue with aprefire of any non-zero offset from the start of the first CPL. Toworkaround to this problem, a projectionist or other theater personnelwill prepend an interval of black content, typically as a CPL having apredetermined number of seconds filled with black pixels, to the head ofSPL, and placing the Start of Show cue within this interval according tothe predetermined prefire offset. Having prefired cues in the SPLaffords the ability to produce an optimal presentation in any auditoriumbut the look and configuration of the SPL will not be intuitive,convenient, or reliable. Projectionists, being human, can make errors inthe SPL such as omitting or misplacing cues, forgetting the black CPLs,forgetting prefire offsets, and providing incorrect prefire offsets.Should one or more CPLs intervene between the prefired cue and theassociated event (as discussed above); the projectionist must understandthe duration of those CPLs. Using such information, the projectionistmust subtract such time values from the prefire interval and positionthe actual cue within the appropriate CPL at the residual prefire offsetbefore the end, a daunting task.

Thus a need exists for a technique for managing activities in connectionwith the presentation of digital cinema content that overcomes theaforementioned disadvantages.

BRIEF SUMMARY OF THE INVENTION

Briefly, a preferred embodiment of the present principle provides amethod for controlling activities in connection with the presentation ofdigital cinema content. The method commences by examining a playlistspecifying a time sequence of events to occur during the presentation ofdigital cinema content to identify at least one cue which triggers theoccurrence of an activity. For each identified cue, a determination ismade automatically of the prefire interval, that is, the interval bywhich the cue should be advanced. The execution of the at least one cueto trigger the corresponding activity is advanced by the automaticallydetermined pre-fire interval.

BRIEF SUMMARY OF THE DRAWINGS

FIG. 1 depicts a block schematic diagram of a digital cinema system forpracticing the activity control technique of the present principles;

FIG. 2 depicts a timeline representative of a prior show playlist forhaving cues.

FIG. 3 is a timeline representative of a show playlist incorporatingpredetermined prefires for certain cues in accordance with the presentprinciples;

FIG. 4 depicts a database within the digital cinema system of FIG. 1 forstoring predetermined prefires for cues; and

FIG. 4 depicts in flow chart form a set of steps of a process inaccordance with the present principles for converting the show playlistof FIG. 2 into a show playlist having prefired cues.

DETAILED DESCRIPTION

FIG. 1 depicts a preferred embodiment digital cinema system 10 whichadvantageously controls activities during a presentation of digitalcinema content in accordance with automatically prefired cues. Asdescribed hereinafter, prefired cues constitute whose executionautomatically adjusts in accordance with theater parameters, inaccordance with the present principles. The digital cinema system 10 ofFIG. 1 includes at least one digital cinema projector 12 associated witha particular movie theater auditorium. A movie theater can possessmultiple auditoriums, each having its own digital cinema projector. Forease of discussion, FIG. 1 depicts a single digital cinema projector 12.Digital cinema projectors have become well known and are available fromseveral manufacturers, including, but not limited to BARCO, NEC and SONYfor example.

The digital cinema projector 12 operates under the control of a ScreenManagement System 14 which typically includes a digital cinema server 15that contains instructions and data for controlling both the digitalprojector 12 as well as a Screen Automation System (SAS) 16. The SAS 16controls certain systems, such as a theater lighting system 18 and ascreen curtain system 20. The theater lighting system 18 controls thebrightness of the lighting, and upon an appropriate control signal fromthe SAS 16, will dim the house lights in advance of the presentation ofthe digital cinema content. The screen curtain system 20 serves todisplace a curtain (not shown) across a screen. In response to a commandfrom the SAS 16, the screen curtain system 20 will typically close thecurtain and then open the curtain just prior to the presentation of thedigital cinema presentation. In addition, the SAS 16 can also controlthe theater audio system (not shown) to control audio levels, as well asthe playing of announcements.

The digital cinema server 15 within the SMS 14 can take the form of awell known digital cinema server, such as manufactured by DolbyLaboratories, San Francisco Calif., Doremi Digital Cinema, BurbankCalif. and Eastman Kodak, Rochester, N.Y., among others. The digitalcinema server 15 includes a decoding module (not shown) for respondingto commands received from a theater management system 22. The theatermanagement system 22 includes a computer (not shown) programmed withsoftware for accepting one or more presentation start time schedules andfor monitoring and controlling the to playout digital cinema contentaccording to a working presentation start time schedule. In practice,the working presentation start time schedule resides in a database 23associated with the theater management system.

The theater management system 22 receives commands and provides statusinformation through at least one user interface 24. In practice, theuser interface 24 comprises a web browser running on a processor (notshown) having an associated monitor, mouse, and keyboard or touch screen(not shown). The processor communicates with theater management system22, which provides a monitoring and control interface through an httpservice. Further, the user interface 24 preferably constitutes anapplication written in Flash™ software available from Adobe Systems ofSan Jose, Calif. wherein the web browser downloads the user interfaceapplication to communicate with theater management system 22 to obtainaccess to monitoring and control information therefrom. Alternatively,the user interface 24 could comprise a monitor, mouse, and keyboard ortouch screen (not shown) connected directly to the theater managementsystem 22. Further, the user interface 24 could comprise a Personal DataAssistant, or other mobile data terminal, linked to the theatermanagement system 22 via a wireless connection.

As shown in FIG. 1, theater management system 22 enjoys a communicationlink to a Point of Sale (POS) system 28 responsible for issuing ticketsto theater patrons and for tracking ticket sales. The POS system 120 hasaccess to a database 30 that stores one or more published start timeschedules among other information.

The digital cinema server 15 within the SMS 14 of FIG. 1 controls thedigital projector 12 to playout digital cinema content in accordancewith a show playlist. FIG. 2 depicts a typical art show playlist (SPL)100 according to the prior art. The SPL 100 of FIG. 2 comprises of asequence of composition playlists (CPL) 101, 102, 103, 104, 105, and 106for example, each of which represents a digital cinema asset such asmovie trailers 102 and 103, interstitial or policy assets 101 and 104, afeature 105, and a rating card 106. Interspersed within and among theCPLs are cues 111, 112, 113, 114 which mark locations within the SPLcorresponding to the occurrence of certain activities. The direction ofarrow 120 indicates the flow of time, and represents the timeline overwhich the playout of the content occurs in accordance with the SPL 100.It is important to note that cues marking locations in the SPL areconsidered to have substantially no duration although, in someimplementations, the position cannot be more tightly indicated thanwithin a specific frame of content. The non-zero width of the cues andthe gaps that between the CPLs in SPL 100 appear for the sake of clarityand do not represent a gap in the timeline represented by arrow 120.

The CPLs and digital cinema assets have well understood definitionsprovided in the following publications distributed by the Society ofMotion Picture and Television Engineers, White Plains, N.Y., “SMPTE429-7-2006 D-Cinema Packaging—Composition Playlist” and “SMPTE429-3-2006 D-Cinema Packaging—Sound and Picture Track File.” SPLs havebecome well-known, with various modern implementations offered bydigital cinema equipment manufacturers including Doremi Labs, Inc. ofBurbank, Calif., makers of the DCP2000 server; Dolby Laboratories of SanFrancisco, Calif., makers of the DSP100 and DSS100 servers; and EastmanKodak Company of Rochester, N.Y., makers of the CineServer JN2000servers. For a more extensive discussion of show playlists, refer toU.S. Pat. No. 6,700,640 by Morley et al., herein incorporated byreference.

In some proprietary SPL implementations, for example those used byDoremi Labs, the location of a cue is described as an offset, which maybe zero, within a CPL. The offset can be designated as being relative tothe beginning or end of the CPL. An alternative embodiment offered byDolby Laboratories provides that the location of a cue within an SPLconstitutes a point along timeline 120. According to the presentprinciples, either description can apply since for either embodiment,given a sequence of the CPL s whose durations are known, a cue locationof one description can be translated into another.

In a present-day digital cinema system, the SPL controls the playout ofcontent by the digital cinema projector 12 of FIG. 1 as described. Inparticular, the SMS 14 of FIG. 1 makes use of the cues 111, 112, 113,and 114 of FIG. 2 during the playout of the content to drive the SAS 16of FIG. 1. For instance, the Start of Show cue 111 of FIG. 2. liesimmediately prior to the first frame of content of the “Coming Soon”interstitial CPL 101. In response, the SMS 14 triggers the SAS 16 tocontrol the theater lighting 18 (all of FIG. 1) to dim the lights tohalf brightness upon encountering the Start of Show cue 111 of FIG.during playout. The Start of Feature cue 112 lies in SPL 100 between the“And now our Feature Presentation” interstitial CPL 104 and the actualfeature presentation CPL 105. Upon encountering the Start of Feature cue112 of FIG. 2 during content playout, the SMS 14 of FIG. 1 triggers theSAS 16 of FIG. 1 to further dim the theater lights.

The Start of Credits cue 113 of FIG. 2 lies within the feature CPL 105at a point, typically selected by an individual exhibitor at the timewhen the end credits of the movie appear at which time the exhibitortypically wants the lights to come up to half brightness to assistaudience members exiting the auditorium. The End of Show cue 115 lies ator immediately following the last frame of the final CPL, which in theUnited States, will initiate the display of the rating card CPL 106.Upon encountering the End of Show cue 115 in SPL 100, the lights come tofull brightness to facilitate the last of the audience exiting thetheater and to enable theater personnel to prepare the auditorium forthe next performance.

The cues 111, 112, 113, and 114 of FIG. 2 (as well as other cues whichare not shown) can trigger other activities such as striking orextinguishing the projector lamp, and/or opening and closing theprojector douser.

FIG. 3 depicts a SPL 200 according to the present principles havingtimeline 220, wherein each cue 211, 212, 213, 214 lies earlier in theSPL 200 relative to the locations of the corresponding cues in SPL 100.In this way, the cues 211, 212, 213, and 214 of FIG. 3 appear earlierduring playout relative to CPLs 101, 102, 103, 104, 105, and 106,respectively. Also, the SPL 200 includes an interval at the beginning,occupied by CPL 201. The CPL 201 has presentation assets that include afull-frame black picture, and a silent soundtrack. Present-day digitalcinema systems require this ‘black’ content to explicitly create aninterval within timeline 220 where no content otherwise exists.

In an alternative embodiment, the SPL 200 could comprise a timeline 220that extends beyond the accumulated durations of the CPL s 101406 andcue 211 could lie at a location in the timeline 220 that is somenon-zero amount of time before of the first frame of first CPL 101without the need for the black CPL 201. For example, the Start of Showcue 211 would lie a non-zero amount of time before the first frame ofcontent in CPL 101. In this way, the start of show event represented byStart of Show cue 211 will still lie immediately prior to the firstframe of content of the CPL 101, but the digital cinema system 10 ofFIG. 1. will prefire the Start of Show cue 211 of FIG. 3 by somepredetermined amount of time. During playout of the SPL 200 of FIG. 3,the early presence of Start of Show cue 211 relative to CPL 101 permitsthe digital cinema system 10 of FIG. 1 to begin a sequence of actionssuch as: (a) igniting the projector lamp, (b) fading out backgroundmusic (BGM) previously playing in the auditorium, (c) initiating apartial dimming of the lights, (d) switching the audio to the digitalcinema system after the BGM has faded appropriately, and (e) opening theprojector douser. All these events should occur with the appropriatetiming such that as the content of the CPL 101 begins to play, theprojector and audio become ready, and the lights and curtains areaesthetically finishing the last portion of their commanded setting.

The SPL 100 of FIG. 3 allows manual inclusion of black CPL 201 at thebeginning of an SPL and manual placement of such individual cues asnecessary to command the projector(s) to light, initiate dimming of thehouse lights, initiate curtain opening, commence BGM fadeout, switchingof the audio to the digital cinema content, etc. each at individually,manually selected times; or a single Start of Show cue manuallypositioned to trigger an external system, such as the SAS 16 of FIG. 1to perform an independently timed sequence of actions. Making use of theSPL 200 of FIG. 3 in accordance with the present principles producesmore aesthetic results while still affording the simplicity ofconstruction of the SPL 100 of FIG. 2.

With respect to the Start of Feature cue 212, the amount of time bywhich this cue precedes the actual start of the feature CPL 105 willexceed the duration of “And now our Feature Presentation” interstitialCPL 104. Thus, the Start of Feature cue 212 will lie at a point ontimeline 220 that occurs during trailer CPL 103 such that the totalduration of the CPL 104 plus the offset of the cue 212 from the end ofthe CPL 103 substantially equals the effective prefire of the cue 212.The End of Credits cue 213 occurs earlier within feature CPL 105 in SPL200 of FIG. 3 than does the corresponding End of Credits cue 113 withinCPL 105 in SPL 100 of FIG. 2 by a predetermined amount of time specificto End of Credits cue.

The End of Show cue 214 lies within feature CPL 105 at an offset fromthe end of the CPL 105 which, when added to the total duration of theCPL 106 represents a predetermined amount by which the End of Show cue214 commences prefiring relative to the end of the show, which coincideswith the location immediately following the end of the last CPL. In analternative embodiment, the SPL 200 also could have an interval of black(not shown) following the last CPL 106 to extend the timeline 220 pastthe final content elements. Adding such an interval would give rise toan aesthetic buffer time during which suppression of the BGM and theon-screen ads occurs to prevent their being immediately juxtapositionedfollowing a dramatic movie conclusion. Further, including such aninterval could provide a location for a later cue (not shown) to triggeran interval where work lights illuminate in the theater to assisttheater personnel to prepare for the next show.

In order to automatically support the translation of a prior art SPL,such as SPL 100 of FIG. 2, having intuitively and simply placed cues111, 112, 113, and 114 into an SPL playout, in accordance with thepresent principles, with cues, such as 211, 212, 213, and 214 of FIG. 3,issued with predetermined prefires, the database 23 or the SMS 14 ofFIG. 1 can include a database 300, shown in FIG. 4, which enumerates apredetermined prefire value for each cue. One or more cues could have aprefire value of zero. Cues not listed the database will have apredetermined default prefire value, either zero or some preselectedvalue.

The Database 300 of FIG. 4 includes a plurality of records 310-325. Eachrecord, such as record 310 for example has a Screen field 301, a Cuefield 302, and a Prefire field 303. The Screen field 301 for a givenrecord identifies the particular theater auditorium associated with thecue identified in corresponding cue field 302. The Prefire field 303 inthe given record identifies the prefire interval for the correspondingcue identified in the cue field 302. In many instances, differenttheater auditoriums showing the same content will share the same SPL,such as the SPL 200 of FIG. 3. However, even though differentauditoriums will share the same SPL, the auditoriums can have differentsystems for lighting and screen curtains, and thus different prefires.Thus, associating the particular screen for a given cue andcorresponding prefire helps for tracking purposes. In the illustratedembodiment of FIG. 4, the records 310-315 associated with the cues andcorresponding prefires for Screen 1 constitute a first record group 304,whereas the records 320-325 associated with the cues and correspondingprefires for Screen 2 constitute a second record group 305. In apreferred embodiment, however, all of the prefires for all of thescreens of a given exhibitor would possess the same prefire value foreach cue of a given type for the sake of consistency.

In practice, different methodologies and criteria can apply to establishthe prefire values in the database 300 of FIG. 4. As a practical matter,establishing the prefire value in the field 303 of each of the records310-325 for the cue identified in the corresponding cue field 302becomes a matter of design choice for a particular auditorium identifiedin the Screen field 301. As an example, for digital cinema installationsundertaken by Technicolor Digital Cinema, Inc, of Burbank, Calif., theprefire value 303, if non-zero, is usually sixty seconds (0:01:00), thatis, exactly one minute. This value was selected empirically as being:(a) sufficient for all known examples of the timing required for thelargest motion picture curtains in Hollywood premiere theatres to cyclefrom an open position to closed and back to open again (i.e., a ‘curtaincall’), which was considered to be the action requiring the longestprefire; (b) not too excessive in comparison with more typical prefires(many of which are on the order of 0-10 seconds); (c) easy to rememberwithout confusion, and (d) easy to enter into prior art SPL editorsgiven that times are typically being entered with an offset of exactlyone-minute with respect to whatever other offset they normally theywould normally have.

Within exhibition facilities configured according to the empirical plandescribed above, the automation system (e.g., SAS 16 of FIG. 1) expectsto receive a signal sixty seconds in advance of most events. So, forexample, the automation system expects the Start of Feature cue sixtyseconds in advance of the start of the feature. For a curtain call tobegin twenty seconds prior to the start of the feature, then theautomation system will accept the Start of Feature cue, wait for fortyseconds, and thereafter trigger the curtains to close. Once closed, thecurtains reopen, with the aesthetic result of the curtain completing itsclosure and starting its reopening just as the feature CPL 105 begins toplay.

However, a sixty second prefire becomes awkward for certain cues. Forexample, in cases of both the Start of Show cue and the End ofIntermission cue (not used in the SPL 100 and 200 of FIGS. 2 and 3,respectively), the actions performed by the automation system frequentlyoccur as a result of manual initiation, or in response to some externaltrigger provided by a system not capable of a prefire (e.g., a legacypresentation system that provides advertisements on-screen prior to thestart of the presentation by the digital cinema system). In these cases,the prefire value is preferably kept low, or set to zero. Ten secondshas been empirically found to be a reasonable value, as has zero. Havingnon-standard values (i.e., different than sixty seconds) eliminates theadvantages of being easily remembered and being easily entered. Suchnon-standard prefire values mandate special treatment and requireadditional effort to enter using present day SPL user interfaces.However a standard prefire value of sixty seconds under such thesecircumstances would violate the requirement of (b) of not being tooexcessive. Past efforts to address this problem relied on carefultraining of exhibition personnel to correct errors resulting in a clumsypresentation timing (i.e., an audience sitting in a ready, but quiet,theatre for almost a minute) before the next showing.

As discussed further below, a preprocessor (not shown) can implement anautomatic process which converts the SPL 100 of FIG. 2 to yield a SPL200 of FIG. 3 for distribution to a digital cinema system, such assystem 10 of FIG. 1, for playout. Such preprocessor could exist withinthe TMS 22 or the SMS 14, both of FIG. 1, or alternatively, an existingprocessor (not shown), each having access to the database 300, couldperform such preprocessing. Assuming similar equipment configurationsthroughout the theatre with similar expected prefire values for cues ofa given kind, then an SPL, such as SPL 200 of FIG. 3, prepared with suchprefire values, could find use in any auditorium within the exhibitiontheatre with the desired results. However, if the equipmentconfigurations differ from auditorium to auditorium within a giventheater, then the database 300 of FIG. 4 would store theauditorium-individualized prefires as shown. Thus, under suchcircumstances, the SPL 200 of FIG. 3, prepared for auditorium 1 usingthe records in group 304 of FIG. 4, will differ from the SPL forauditorium 2 prepared using the records from the group 305 of FIG. 4.

In another embodiment of the present principles discussed in more detailbelow, the SPL 100 of FIG. 2 can produce the behaviors (i.e., the cuetimings relative to content playout) defined by the SPL 200 of thepresent principles by applying the prefire timings at or near runtime.Thus, an explicit expression of the SPL 200 need not occur provided thatthe digital cinema system emulates the behavior dictated by this SPLbefore and during playout of the content.

To summarize, at least two implementations can accomplish prefiring ofthe cues. A first implementation produces the SPL 200 of FIG. 3 bytranslating the SPL 100 of FIG. 2 for use in the digital cinema system10 of FIG. 1, A second implementation modifies the SPL 100 using thedatabase 300 of FIG. 4 to produce the behavior described by SPL 200 ofFIG. 3.

FIG. 5 describes a process 400, hereinafter referred as the SPLre-cueing process, for establishing the prefire values to provide eachof the two implementations described above. The SPL re-cueing process400 operates by accepting an intuitive, prior art SPL 100 having cueslocated at easily indicated positions. Execution of the SPL re-cueingprocess 400 can occur in advance to generate the SPL 200 of FIG. 3 (nowre-cued) from the SPL 100 of FIG. 2 using the database 300.Alternatively, the SPL re-cueing process can operate in real-time,during a performance of SPL 100 to produce the cue timing behaviorsdescribed in SPL 200. As well become better understood hereinafter, thefollowing detailed description supports both possibilities.

Referring to FIG. 5, the SPL re-cueing process 400 begins with step 401during which initialization occurs. Next, step 402 undergoes executionto commence loading of an SPL having no prefire on its cues, such as SPL100 of FIG. 2, and to place an index into the SPL file at the start ofits timeline, that is, at the time 00:00:00.00. In the case of real-timeperformance, system assets will typically undergo validation duringexecution of the initialization step 401. Completion of the execution ofstep 402 preferably occurs shortly before the expected start time of thepresentation (with the preferable meaning of ‘shortly’ being ‘not lessthan the prefire value for the Start of Show cue).

The step 403 follows step 402 at which time the SPL 100 loaded duringstep 402 undergoes scanning (i.e., examination) beginning from thecurrent position in the timeline to find the next cue. A check occursduring the step 404 to determine whether the scanning of the SPL yieldeda cue. Upon finding no cue before the end of SPL 100, then execution ofstep 405 occurs to return to the re-cued SPL. The remaining CPLs of SPL100, if any, get appended sequentially to create the SPL 200 and theoutput file is closed. In a real-time performance system, theseremaining CPLs undergo playout out in sequence. At step 406, the processends and resources taken by process 400, including the input file SPL100, get released and processing concludes.

Upon finding a cue during step 404, process execution branches to step407 to execute a search of the database 300 of FIG. 4 to determine theappropriate prefire value 303 for the found cue. If the search finds nocue in database 300, a predetermined default value, typically, althoughnot necessarily zero, gets assigned. In an alternative implementation,the prefire value 303 gets determined by a predetermined set of rules orby one or more algorithms. Implementation of such rules could result intranslation of a cue of one type into a cue of another type, orelimination of the cue, and could make use of additional parameters. Forinstance, an Intermission Start cue might have predetermined values indatabase 300 for individual auditoriums. However, the Intermission Startcue might be ignored, that is, dropped, if the clock time at which theIntermission Start cue is expected to occur actually does occur is atime at which the concession stands are closed (i.e., during the lastshow of the night).

During step 408, a check occurs whether the search initiated during step407 resulted in finding a cue in the database 300 of FIG. 4. Uponfinding no information in the database during step 408 of FIG. 5, thenthe cue is ignored and processing returns to step 403 to seek the nextcue. However, upon finding a prefire value or a default value exists,then processing continues at step 409 of FIG. 5 at which time a checkoccurs to determine whether the cue being examined lies inside a CPL.For those digital cinema systems that require the cue reside within aCPL, a cue having an offset of zero from the beginning of a CPL would beconsidered as lying outside of the CPL and to occur immediately beforeit. If the cue location coincides with a time on the timeline at which aCPL begins, then the same assumption applies, namely that the cue liesoutside of the CPL and occurs immediately before it. The foregoingrepresents an example, as mentioned above, of the possibility of theconversion between CPL-offset and timeline-based representations of thecue location.

If the check performed during step 409 reveals that that the cue liesinside of a CPL, then a check occurs during step 410 to determinewhether the offset of the cue from the start of the CPL at least equalsthe prefire value. If so, then step 415 undergoes execution to adjustthe cue offset in the same CPL so the cue gets adjusted by the prefireamount to locate the cue closer to the start of the CPL. That is, if thecue had an original offset from the start of the CPL (or from the startof the timeline), the adjusted offset now equals the original offsetminus the prefire value. However, if the cue had an original offset fromthe end of the CPL, then the adjusted offset becomes the original offsetplus the prefire value. Following step 415, the output file for SPL 200gets written with the adjusted cue offset. For real time performance,the system can wait fora sufficient time to elapse for this cue's newlocation to coincide with the current time on the time line beforecontinuing re-cueing process 400 at step 403.

If the check made during step 410 finds that the prefire value exceedsthe offset of the cue from the start of the CPL, then the cue getseffectively moved to the start of the CPL and the prefire gets reducedby the amount of that movement during step 411. In other words, theprefire value gets reduced by the original offset of the cue from thebeginning of the CPL. At this point, processing of the cue can continueas if the cue had originally resided immediately prior to the start ofthis CPL, which would correspond to the negative result of the checkperformed during step test 409: In either case, processing continues atstep 412.

During step 412, a check occurs to determine whether a CPL exists priorto the current CPL ahead of which lies the cue of interest. If not, thenduring step 413 the timeline must undergo elongation at its start, toform a longer timeline 220. Well-known present-day systems require thata dummy CPL be inserted at the beginning of the SPL in order to extendthe timeline. If the duration of this timeline extension is selectable,the value should be exactly the prefire value that remains to beaccommodated. If the duration of this extension is predetermined, forexample, because the available dummy CPL has a fixed length, there is nochoice. If multiple dummy CPLs are available, then the shortest onehaving a duration greater than or equal to the un-accommodated prefirevalue should be selected. Otherwise, the longest available CPLconstitutes a reasonable choice. In FIG. 2, the black CPL 201 representsa dummy CPL whose duration is somewhat greater than the prefire valueapplied to produce the location of the cue 211.

Upon determining the CPL immediately preceding the current location ofthe cue during step 412 or after prepending the black CPL during step413, then execution of step 414 occurs during which the location of thecue gets set to the end of the prior CPL, or, equivalently, an offsetfrom the start of the prior CPL equal to the duration of the CPL getsset, or, equivalently, the corresponding location on the timeline. Note,that prepending the dummy CPL to the SPL or other technique forextending the timeline to achieve an earlier start may, in someembodiments, will result in negative timeline values, that is, an offsetthat occurs before the original start of original first CPL 101. Methodsfor handling negative timeline values are well-known in the art oftelevision and film editing, for instance, many studios and productionhouses designate a time code of 01:00:00.00 (one hour) as the start ofthe show. In this way, any content (up to an hour long) placed beforethe start of the show has a valid, non-negative time code value. Theavailability of valid time code and signal before the start of the showprovides equipment the opportunity to pre-roll and synchronize to a timebase so that a clean transition can occur between sources. Though lesscommon, a negative value can exist in a time representation.

Other techniques exist for handling this situation: The entirety of theinput SPL 100 can be advanced by the amount of the timeline extension;or an initially zero, global offset value between input SPL 100 andresulting SPL 200 (or an effective performance thereof in a real-timesystem) can be tracked and incremented by the amount of the timelineextension. Those skilled in the art should not have difficulty providinga resolution to this situation that is applicable to specific new orpre-existing digital cinema systems.

Once the location of the cue has been re-referenced to the prior CPL andthe offset updated in relocation step 414, processing of the cuecontinues at step 410. Eventually, the SPL re-cueing process 400provides in the output SPL 200 or a real-time playout, a location inpossibly-extended the timeline 220 for each surviving cue having alocation in the input SPL 100.

Application of the SPL re-cueing process 400 of the present principlesprovides theater personnel amore sophisticated, aesthetically pleasingtechnique for placing cues to manage the operation of equipmentcontrolled by the SAS 16 off FIG. 1. As described above, the TMS 22 ofFIG. 1 could perform the re-curing process 400 of FIG. 5 in advance andthen provide the resulting SPL 200 to the SMS 14 of FIG. 1 associatedwith an auditorium's digital cinema system. Alternatively, the SMS 14 ofFIG. 1 could perform re-cueing process 400 to produce the output SPL 200for its own use. In still another alternative embodiment, the SMS 14 ofthe digital cinema system 10 of FIG. 1 can perform re-cueing process 400of FIG. 5 in real-time, as it presents the show.

In an alternative embodiment according to the present principles, there-cuing technique described above can heuristically generate cuesappropriate for making a complete output SPL 200 from a sequence of theCPL s (e.g., input SPL 100, but without cues 111-114). This becomespossible because the intuitive location for the Start of Show cue 111coincides with the beginning of the first CPL 101, the End of Show cue114 lies at the end of the last CPL 106, and the Start of Feature cue112 lies at the start of the only (or first) CPL havingContentKind=“feature” (per the SMPTE CPL standard, op. cit.), or absentfinding such metadata, the longest CPL. If the feature CPL 105 hasmarkers, including at least one of “FFEC” (first frame of end credits)or “FFMC” (first frame of moving credits), as provided by a studio orother content provider, to identify events within a composition, thenthe Start of Credits cue 113 can lie coincident with either one of thesemarkers, based on the exhibitor's preference. The result would yield anSPL substantially like the input SPL 100, which can then serve as theinput to re-cueing process 400 for subsequent processing. In cases wheresuitable markers do not exist, or where zero or more than one CPLindicates that it is the feature content, this process preferablynotifies exhibitor personnel to obtain a clarification.

The foregoing describes a technique for controlling one or moreactivities within a digital cinema presentation by adjusting theoccurrence of cues that trigger such activities to achieve a moreaesthetic showman-like presentation.

1-10. (canceled)
 11. A method comprising the steps of: (a) examining afeature composition in a playlist specifying a time sequence of digitalcinema compositions to determine whether a first marker corresponding toa cue is present; (b) if the first marker is present, then placing thecue in the playlist at the first marker; and, (c) if the no markercorresponding to the cue is present, then notifying an exhibitor. 12.The method of claim 11 further comprising the step of: (d) if the firstmarker is not present, then examining the feature composition todetermine whether a second marker corresponding to the cue is present;and, (e) if the second marker is present, placing the cue in theplaylist at the second marker.
 13. The method of claim 12 wherein thefirst marker is for a first frame of end credits and the second markeris for a first frame of moving credits.
 14. The method of claim 12wherein the second marker is for a first frame of end credits and thefirst marker is for a first frame of moving credits.
 15. The method ofclaim 12 further comprising the steps of: (f) automatically determiningfor the cue, a pre-fire interval by which the cue should be advanced;and (g) advancing execution of the cue to trigger the correspondingactivity by the automatically determined pre-fire interval.
 16. Themethod of claim 11 wherein the first marker is for one of a first frameof end credits and a first frame of moving credits.
 17. The method ofclaim 11 further comprising the steps of (d) automatically determiningfor the cue, a pre-fire interval by which the cue should be advanced;and (e) advancing execution of the cue to trigger the correspondingactivity by the automatically determined pre-fire interval.
 18. Themethod of claim 11 further comprising the step of: (d) automaticallyexamining the playlist to determine the feature composition.
 19. Themethod of claim 18 wherein the feature composition is determined byhaving a content kind designating a feature.
 20. The method of claim 18wherein the feature composition is determined by being the longestcomposition in the playlist.